Marco Caricola is what I would consider a “perfect find” for music listeners dedicated to finding great albums digging around the internet. The access we have to music today is unlike anything we’ve ever had previously, and sifting through the unsure waters of the web is an adventure with unpredictable results. When I first heard Caricola’s album, Innerfin, I knew it was a diamond in the rough, and I knew it needed to be talked about.
The music of Innerfin is stunning and engaging, and above all the album is crafted with emotional depth in mind. Each song locks you in on a particular feeling, but it gives you room to breathe and experience each feeling to its fruition. To me, Innerfin is an intimate and romantic venture, with songs like “Everything Felt Perfect” and “And The Galaxy In Her Eyes”, which both feature some of the most warming string sections on the album. “And The Galaxy In Her Eyes” deserve further mention for its strikingly visceral progression and skilled musicianship. In fact, it’s impressive that Caricola himself is skilled on all of these instruments, and Innerfin truly feels like the work of many instead of a sole musician.
One of the main goals of Arctic Drones is to highlight the works of lesser known bands or artists that deserve the attention of many for the time, effort, and dedication they put into their music. Marco Caricola was found like most of us find music, a chance encounter through the seemingly endless amount of music online. Innerfin is an album that can stand amongst the top modern classical releases of the year, and this is why we chose to showcase the masterful work of Marco Caricola.
ABOUT MARCO CARICOLA
Born in the city of Bari, a stone’s throw away from the Adriatic Sea, 25-years old composer Marco Caricola has been perpetually exploring his musicality in a life journey that took him from his hometown to London in early 2013. From there he has been consistently involved in the creation of music for films and other visual projects, eventually participating to notorious film events such as BFI, Toronto CineFest and Los Angeles Short Film Festival.
Marco’s music gravitates around fragile piano patterns and delicate blends of orchestral and electronic textures, defining a sound that evenly draws from radically diverse influences from Romanticism to ambient music. His debut album “Innerfin”, released this year on 1631 Recordings, collected a selection of original and soundtrack pieces from the last two years to finally introduce the composer’s output to the wide public.
“Slight electronics, strings and lo-fi treatments compliment ‘Innerfin’ to create a gorgeous soundtrack full of emotion, sentiment and joy.”
“A record that, through its different shades, confirms the eclectic and always maturer talent of a composer with a lot to say and to give.”
“Not only an exponent of the neoclassical ambient scene, but a full fleshed composer able to interconnect different artistic languages in order to provide suggestive and emotional narrative experiences.”
Music Won’t Save You
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Congratulations on your new album ‘Innerfin’, sounds fantastic. Anything you’d like to share about the making of the record?
Thank you very much! “Innerfin” was originally born as a straight selection from my short film scores. I had been keeping a gigantic amount of music sitting on my computers for ages, it had to take a call from 1631 Recordings to force me tidying things up.
However, upon organising the tracklist I couldn’t ignore the new narrative and memories it inspired in my mind. Suddenly the album had become a chronological journey of emotions and stories I had been experiencing through these two years. So I went on and filled the gaps with new songs, aiming to complete a sort of cyclical movement – that’s why the opener “Principio” and ending “Fin” start from the same note. Hopefully I’ve made the journey relevant and meaningful for the listeners, other than for myself!
How did you come up with the album name?
It was quite random actually. It came to me at the end of the process, while mixing the songs. I was thinking about that cyclical journey, how it changed me forever in every possible way. To my surprise, putting the music together helped me reaching an unexpected sense of resolution – It felt like finally managing to take a steady picture of a very busy highway. Of course I’ve soon realised that a word for all this did not quite exist, so I had to come up with one!
What and who were your musical influences growing up? And how about today?
I was a fairly introvert kid who consumed a ridiculous amount of records. Film music took its place in my heart very early on of course. Then there were Radiohead and Sigur Ros – perhaps the first rock bands that took music under my skin. Max Richter, Johann Johannsson and Dustin O’Halloran were the composers I was studying while improvising my first pieces – I still look at them as highest examples nowadays. I’ve also been always greatly fond of Asian music, especially by composers like Ryuichi Sakamoto, Joe Hisaishi and Yoko Shimomura.
As a listener I like to adventure myself in new directions and see what I learn from amazing artists who are completely different than me – a perfect recent example is The Caretaker. I find it harder to enjoy music on surface level today, especially soundtracks – my ears quickly jump into analysis mode and get down to chords, harmonies, microphones, rooms, gear. I’m learning to get out of this at times!
What does the future hold in store for you?
More music, definitely! It’s been a very exciting year so far – album aside, we’ve also managed to organise some very sweet gigs in London and Barcelona. That’s all new for me at this point, taking my music outside the studio felt truly special. I definitely look forward to doing more of it in the very next future, hopefully connecting with a larger amount of people. I will also try to get some new material recorded by the end of the year.
Anything else you would like to share with us?
Thank you for listening to my music and showing interest in what I do, until next time!